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Pedro the Lion - Phoenix
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|||||| -----------------=--= RELEASEiNFO =-=------------------- ||||||
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||| Artist Name_____> Pedro the Lion |||
||| Album Name______> Phoenix |||
||| Label___________> Polyvinyl |||
||| Genre___________> Indie |||
||| URL_____________> |||
||| Release Date____> 2019-01-16 |||
||| Street Date_____> 2019-01-18 |||
||| Size____________> 298.57mb ||
|| Playtime________> 45:04 ||
|| Encoder_________> FLAC 1.3.1 ||
|| Quality_________> 860 kbps / 44.1khz / 2 channels ||
|| ||
| |
| -----------------=--= TRACKLiST =-=------------------- |
| |
| |
| 1 Sunrise 1:01 |
| 2 Yellow Bike 3:53 |
| 3 Clean Up 2:49 |
| 4 Powerful Taboo 3:29 |
| 5 Model Homes 3:21 |
| 6 Piano Bench 1:38 |
| 7 Circle K 3:36 |
| 8 Quietest Friend 4:23 |
| 9 Tracing the Grid 3:16 |
| 10 Black Canyon 5:23 |
| 11 My Phoenix 3:24 |
| 12 All Seeing Eye 2:42 |
| 13 Leaving the Valley 6:09 |
| |
| |
| -----------------=--= N O T E S =-=------------------- |
| |
| |
| Following a fifteen year gap that yielded a prolific if |
| occasionally spotty solo career, David Bazan revives his Pedro the |
| Lion moniker for a deeply reflective, though pleasingly muscular |
| full-band album. In late 2005, one year after the release of their |
| fourth album, Achilles Heel, the mercurial songsmith retired the |
| band name which for all intents and purposes had stood to |
| represent his lone artistic vision, opting instead to continue |
| working under his given name. During Pedro the Lion's decade of |
| existence, literally dozens of players cycled through the band's |
| ranks with just a few (TW Walsh, Trey Many, Casey Foubert) |
| sticking around long enough to have any real influence on Bazan's |
| singled-handed approach. Still, the intent and opportunity for |
| collaboration was an inherent part of his often conflicted outlook |
| and it gave a certain amount of weight and purpose to those first |
| four Pedro the Lion albums. A decade and a half on, this is still |
| the case as he repurposes the name to stand for yet another |
| iteration of the band, bringing in newcomers Sean Lane on drums |
| and Erik Walters on guitar while he mans the bass. With no |
| returning personnel and a frontman whose extensive solo catalog |
| serves as a living extension of the band's sound, it would be |
| wrong to call Phoenix a reunion album, though there is something |
| in its tone and attitude that makes it feel distinctly like a |
| Pedro the Lion release. Much of the thirteen-song set is delivered |
| as a properly stripped-down power trio and that minimalism harkens |
| back to the band's early days, albeit with an altogether beefier |
| sound thanks to producer Andy Park. As a songwriter and vocalist, |
| Bazan is in good form, turning to his past to try and understand |
| his present condition on standouts like the nostalgic "Yellow |
| Bike" and "Model Homes," his cracked but powerful vocals evoking a |
| hard won wisdom that his younger emo self ached for. Bazan's |
| complicated relationship with his faith remains a theme, though it |
| seems to have softened with time. His church-going childhood |
| appears as more of a backdrop for sensory memories like the |
| pleasure felt at hearing his parents sing at a Sunday evening |
| service on the spacey "Piano Bench," one of three analog synth-led |
| tracks that breaks up the album's otherwise classic |
| guitar-bass-drums arrangements. Older, wiser, and still |
| passionate, Phoenix is a worthy continuation of Pedro the Lion's |
| legacy with just enough spirit to set it apart from his more |
| recent solo work. |
| |
| |
| -----------------=--= GREETiNGS =-=------------------- |
| |
|\ /|
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